2026 Theatre Notes

Measure for Measure / Crow's (October)

"This playful adaptation sets Shakespeare’s 1604 drama inside a contemporary sound studio where five actors take on all twenty characters throughout a live radio stream. Shakespeare’s story, while front and centre, is experienced through the actress stepping in at the last minute to play the leading role of Isabella. With no rehearsal, she must quickly adapt to this high-pressure environment, but things get complicated when the action off-stage becomes as heated as they are onstage." Crow's

One of Shakespeare's "problem plays," is it a tragedy or comedy? This is an interesting take, watching the adaptation of an adaptation. Edges get blurry, and that's the point.

Like many of the Bard's works it remains remarkably relevant. Hypocrisy in power, taking and destroying lives. But in Shakespeare's play all is resolved and forgiven, with the righteous coming to the rescue; marriages on the horizon; villains given chances; presumed dead resurrected. 

Great direction by Chris Manousos.

A Fine Balance / Crow's (September)

"Rohinton Mistry’s beloved novel exploring resilience and injustice during India’s 1975 Emergency comes to life in a new stage adaptation.In a cramped Bombay apartment turned illegal garment factory, four unlikely companions are thrown together. As the political crisis deepens and the country reels under authoritarian crackdown, this fragile household becomes a refuge – and an unexpected bond begins to take hold." Crow's

I'd been looking forward to this production since it was announced as part of the season's line-up. The play distilled the essence of the novel, a fine balance between hope and despair. Fantastic performances, excellent writing and fine direction. It was a hot ticket. So glad for its success, and Chris Abraham for contributions to Canadian theatre. 

Spring Awakening / Soulpepper Civic Theatre (September)

In truth, we bought tickets to this because someone was visiting from out of town and we couldn't get tickets for anything else that night. "A group of youth on the cusp of adulthood are schooled in rules and expectations." By that description, I likely wouldn't have chosen this one. 

Great acting and set design. Translated from the German dramatist Frank Wedekind's original work. 

Afterward we said it felt purposefully shocking and, although set in the late 1890's, we felt it wasn't dealing with the theme of sexual oppression in any new way. But then I researched a bit further and learned the play was actually written in 1890. That changed my perspective entirely. Truly groundbreaking for its time. 

The Moth, Tightrope / Koerner (September)

I've been a fan of The Moth for many years, but this is the first time I've been in person. We heard five different stories - all personal, all powerful. Two of the storytellers fellow Torontonians. Each was less than ten minutes in length and followed an unfolding arc (situation/challenge or conflict/resolution / full circle / personal growth). Very effective but also what a reminder that so many individuals have such amazing stories to tell.

Our Town / Toronto Civic Light Opera Company CLO (July)

 "Our Town explores the relationship between young neighbors George and Emily, whose childhood friendship blossoms into romance, then marriage. With poignancy and amusing irony, this landmark of world drama, hailed by everyone from Edward Albee to Albert Einstein, shows what it means to appreciate life while we’re living it, and considers what awaits us after that." The Toronto Civic Light Opera Company.

I counted 14 actors on stage, and estimated 50 seats in the audience. I loved the intimate and spare setting. The actors were all perfectly cast for their roles. The next day Mike P sent us the e.e.cummings poem anyone lived in a pretty how town, wondering if the play might have inspired the poem. I definitely see the parallels.

Thornton Wilder won the Pulitzer for this in 1938, and CLO notes there is likely a production staged somewhere happening every day of the year. Mike P. saw the listing, so Rob and I joined Mike P, Karina, Mike B & Lynn for dinner and a show. 

It wasn't until I looked up The Videocabaret Deanne Taylor Theatre that I saw it frequently collaborates with nearby Crows and acts as a venue for Fringe. 

Primary Trust  / Crow's Guloien Theatre (June)

"Winning the 2024 Pulitzer Prize for Drama, Primary Trust is a touching and tender play by Eboni Booth. The story follows Kenneth, a thirty-something man whose safe, predictable routine is upended when his bookstore closes, forcing him to confront buried grief, step out of his comfort zone, and embrace human connection." Crow's Theatre.

Rob and I brought Alex and Penny along for a night out. They are not as frequent theatre goers as we are, and thoroughly enjoyed the play. "What was the significance of that bell ringing?" "Great set." "How do the actors manage to memorize all those lines?" 

We really did empathize with Kenneth throughout the story, and when he revealed how his imaginary friend Bert came to join him when he was ten, I could see many people wiping the corner of their eyes. Kenneth really doesn't want Bert to leave him, but Bert somehow knows it is really the only way Kenneth will be able to make real ones. A tender-hearted story.

Mary, Mary, Mary, Mary / Crow's Guloien Theatre (April)

"Blending ancient scripture with her trademark incisive, contemporary wit, Erin Shields (You, Always) reclaims the stories of four women who stood at the gates of revolution—only to be sidelined by history." Crow's Theatre.

Feminism and religion can be a dangerous pairing. I thought it would be too moralistic, earnest and shrill. This was not one of my original picks for my season ubscription. A friend went, and said it was worth seeing. Tickets came my way, and I'm glad they did. 

This was a World Premiere. Definitely something I appreciate about Crow's is how they help develop and feature new works. The Surrogate another example.

I didn't love this play, but I agree it was worth seeing. There were a lot of things going on, it was a bit of a mish mash. It wasn't particularly cohesive. It alluded to biblical events, not always in sequence, and made strong conjectures (the miracle of the loaves and fishes was aided by women smuggliers). There is a dance scene - Salome's 7 veils - that seems a bit gratuitous but also turns out to be one of the highlights. The play's strongpoint to me is that it does make you wonder why women are so little-mentioned in the bible itself, when of course they would have played pivotal roles in the revolution that was taking place.

I always avoid reading reviews until I've seen the play, but headlines I glimpsed were not very flattering. Perhaps that was why the theatre was only about half full, but the actors performances' were as though playing to a full house. Now to read those reviews....

 Clyde's / Can Stage Bluma Appel (April)

Clyde's is a Broadway play written by two-time Pulitzer Prize-winning playwright Lynn Nottage. Premiering in 2021, this comedy-drama focuses on formerly incarcerated kitchen staff seeking redemption while working at a truck stop sandwich shop, often cited as a companion piece to her play Sweat. Cincinatti Playhouse in the Park

Loved the allegory of the quest for the perfect sandwich and the idea that prison is also a state of mind. Clyde's anger confines her and in the end becomes the catalyst that sets her workers free.

Fire and flames lit and licked the stage in the kitchen, conjuring hell and purgatory.

Fabulous ensemble cast; most gathered for a talk-back after the performance.

The Surrogate / Crow’s Nest Studio Theatre (March)

 

"Set over the course of a single sleepless night, The Surrogate is a 21st-century exploration of privilege, and the complexities of modern family-making in a world where the rules are still being written." Crow's Theatre.

Although themes were highly charged (ethics of surrogacy, state-side politics, nature of relationships) this didn't feel moralistic or didactic. Told the story and then left you reeling.

The Slotkin Letter review was critical of playwright Moishin Zaidi's debut  for having too many threads running through it at once; however I didn't feel it overwhelmed or clouded the story so much as depicted how complex and multi-faceted life and death can be. What a fabulous first effort!

The Studio Theatre was the perfect venue. The more intimate space suited the personal themes. A nice touch in the set design was drawing the audience in with the choice of seating - hard white chairs that would easily suit a hospital waiting room. Appreciated this detail.

Talk-back after with actors and director (Christopher Manousos) gave some insight into how the stage play was crafted and evolved.

Produced by Here for Now Theatre, Crow’s Theatre, House and Body and b current

You, Always / Berkeley Street Theatre, Can Stage (Feb)

Canadian playwright Erin Shields tackles some tough themes in this play about sisterhood: cancer, MAID, divorce, eating disorders. 

The stage was stark and minimal, which allowed it to morph easily from one place into another. 

The two actors were challenged to jump quickly between childhood, adulthood, and adolescence in a series of rapid vignettes, and they pulled off the transitions well, using a lilt in their voice or a shrug of the shoulders to help frame their age. 

Conflict between the two sisters gave rise to arguments beginning with "You, always...." While I know conflict is the dramaturge's friend, I could have used a few more scenes featuring their love and support for one another to even the balance. My favourite scene was when they donned the costumes from childhood stories, and it was well placed in the arc because their yelling at each other was getting a bit one note. 

By the end of the show, there were many people crying in the theatre but personally, I couldn't help feeling a tad manipulated.